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| The Boss is Back! |
| Gene Ammons |
első megjelenés éve: 1969
74 perc |
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| (1995)
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CD |
| 3.884 Ft
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| 1. | Tastin' The Jug
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| 2. | I Wonder
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| 3. | Ger-ru
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| 4. | Here's That Rainy Day
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| 5. | Madame Queen
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| 6. | The Jungle Boss
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| 7. | Jungle Strut
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| 8. | Didn't We
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| 9. | He's A Real Gone Guy
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| 10. | Feeling Good
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| 11. | Blue Velvet
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| 12. | Son Of A Preacher Man
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Jazz / Soul-Jazz, Hard Bop
Recorded November 10 and 11, 1969
Gene Ammons - Sax (Tenor)
Bernard "Pretty" Purdie Drums
Billy Butler Guitar
Bob Bushnell - Bass (Electric)
Bob Porter Liner Notes
Buster Williams - Bass
Candido Conga
Candido Camero Conga
Chris Albertson Liner Notes
Dan Morgenstern Liner Notes
Frank Jones Drums
Houston Person Sax (Tenor)
Junior Mance - Piano
Prince James - Sax (Tenor)
Rudy Van Gelder Engineer
Sonny Phillips - Organ
When tenor saxophonist Gene Ammons (1925-1974) returned to the jazz world after seven years in an Illinois penitentiary, much in music from Coltrane to the Beatles to the sound of Soul had changed. But Ammons's enormous, emotional sound and his fealty to the blues, ballads and deeply-rooted swing remained constants. The two albums collected here were recorded on two consecutive days, less than a month after Ammons's release. On half of the twelve selections he is reunited with an old Chicago friend, pianist Junior Mance, who first recorded with "Jug" in 1947, while elsewhere organist Sonny Phillips and drummer Bernard Purdie (who defined funk drumming in the Sixties) assist Ammons in updating the soul-jazz idiom he helped forge earlier in the decade. Whether on his own hip blues "Ger-Ru," gorgeous ballads like "I Wonder," or then-contemporary themes such as "Son of a Preacher Man," Gene Ammons confirmed that The Boss Is Back!
The executives at Prestige must have been felt ecstatic when they heard Gene Ammons first play after his release from a very severe seven-year jail sentence. The great tenor proved to still be in his prime, his huge sound was unchanged and he was hungry to make new music. This CD, which completely reissues the first two LPs Ammons cut after his return (The Boss Is Back! and Brother Jug!) rewards repeated listenings. The first date (in an acoustic quintet with pianist Junior Mance) hints at his earlier bop-based music while the numbers from the following day (with organist Sonny Phillips) find Ammons playing over a couple of boogaloo vamps very much of the period. Actually it is his ballad statements (particularly "Here's That Rainy Day," "Feeling Good" and even "Didn't We") that really make this CD memorable, although on "He's a Real Gone Guy" Ammons shows that he had not forgotten how to jam the blues either. ~ Scott Yanow, All Music Guide
Gene Ammons
Active Decades: '40s, '50s, '60s and '70s
Born: Apr 14, 1925 in Chicago, IL
Died: Aug 06, 1974 in Chicago, IL
Genre: Jazz
Styles: Bop, Soul-Jazz, Hard Bop
Gene Ammons, who had a huge and immediately recognizable tone on tenor, was a very flexible player who could play bebop with the best (always battling his friend Sonny Stitt to a tie) yet was an influence on the R&B world. Some of his ballad renditions became hits and, despite two unfortunate interruptions in his career, Ammons remained a popular attraction for 25 years.
Son of the great boogie-woogie pianist Albert Ammons, Gene Ammons (who was nicknamed "Jug") left Chicago at age 18 to work with King Kolax's band. He originally came to fame as a key soloist with Billy Eckstine's orchestra during 1944-1947, trading off with Dexter Gordon on the famous Eckstine record Blowing the Blues Away. Other than a notable stint with Woody Herman's Third Herd in 1949 and an attempt at co-leading a two tenor group in the early '50s with Sonny Stitt, Ammons worked as a single throughout his career, recording frequently (most notably for Prestige) in settings ranging from quartets and organ combos to all-star jam sessions. Drug problems kept him in prison during much of 1958-1960 and, due to a particularly stiff sentence, 1962-1969. When Ammons returned to the scene in 1969, he opened up his style a bit, including some of the emotional cries of the avant-garde while utilizing funky rhythm sections, but he was still able to battle Sonny Stitt on his own terms. Ironically the last song that he ever recorded (just a short time before he was diagnosed with terminal cancer) was "Goodbye."
---Scott Yanow, All Music Guide |
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